Benjamin Finger´s new vinyl album - first for Watery Starve (US) - is a musical roller coaster with subtile and poetic influences which describe Finger´s musical extravaganza. Last year he released "Listen to my nerves hum" on Time Released Sound, where he was strolling with Satie through field (of) recordings - now he is back with a different record where he arranges a mise en scène for theatre were everything is prepared for us.

Finger´s approach to music can best be described as collages glued together somewhere between child improvisation combined with hypnogogia, sometimes even in the same song. And this makes me wonder why his name isn´t as familiar as Mum or Efterklang, some of his Scandinavian companions. Where Mum, despite their unconventionality, ends a song definitely - Finger´s songs, like entropia, progress and progress long after the needle leaves the record. If Efterklang´s mix of influences and decades have led them to understand their records as one complete new sport, Finger adopts influences on modus but very soon cancels them and succeeds to forget where and from which point he started. To be clear: his musical expression is always free of cliches and one of the most independent ones which I have heard lately.

As always when Finger´s albums are out, The Bet guides the listener to visualise in his or her own personal and special way. For example, Rosencrans Exit sounds to me as one musical outtake from a late 80´s movie by Wim Wenders. One more personal reason to think The Bet is my favourite Benjamin Finger album.